Leseprobe_Women Composers

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PRELIMINARY REMARKS ON VARIOUS USES OF THE OTTOMAN/TURKISH LANGUAGE Before delving into this book, it is crucial for the reader to be aware of a few points. The collected materials and sources used employ three languages and two different alphabets, with the majority of primary sources being in either Ottoman Turkish or Turkish; all concepts / words / terms in the main body of the text that cannot be directly translated to English, have been intentionally left in their original language. The reader will see that the original terms have been italicised, while their English equivalents – or their closest English meanings – have been written in brackets. The use of brackets rather than parentheses is intended as a reminder to the reader that the English translations of the original words do not always correspond exactly to the meanings of their Ottoman/Turkish counterparts, as meanings of concepts and the connotations they carry change in different cultural contexts; the bracketed English words serve as clarificatory translations of the provided information. Where Ottoman/Turkish words require the plural form, the English plural suffix ‘-s’ has been added (e.g. peşrevs, şarkıs, mekteps, etc.). Aside from this rigorous approach to the concepts (for example, no English word can truly reflect the meaning of makam music, or a mabeyn), it is also imperative that prospective researchers with an interest in Turkey, whether they be native Turkish language speakers or not, use the original words and phrases, and sometimes even whole citations in the original language, as has been done throughout this book, so as not to cause confusion or misunderstanding through the translation process. It is also important to know that the Turkish people first began using family names after 1934, in accordance with the adoption of the Turkish Surname Law. Prior to this, people were in the practice of prefixing their profession (Hekim İsmail Paşa [Doctor İsmail Paşa], Kemani İhsan Efendi [Violinist İhsan Efendi], or Şair Nigar [Nigar the Poet], etc.), or their place of origin (as in the cases of Giritli Sırrı Paşa [Sırrı Paşa from Crete] or Şamlı İskender [Iskender of Damascus]) to their names. Appellations or handles were commonly suffixed: Hanım or Hanımefendi for women, Bey, Beyefendi, Efendi, or Paşa for men, none of which can be translated as Lady, Miss, Mrs, Sir, or Mr. Additionally, the reader should be aware of the change of calendar after the proclamation of the Republic. In 1926, the use of the Islamic lunar calendars (hijri and rumi) was ceased, and the Georgian calendar was adopted. Older documents which refer to the hijri calendar (abbreviated as H and/or R) have been converted to the Gregorian calendar for the Western reader, and have been placed in brackets as complementary information. 13
LIST OF ABBREVIATIONS BEO. Bâb-ı Âli Evrak Odası [Document Bureau of the Sublime Porte] BOA. Başbakanlık Osmanlı Arşivi [Prime Ministry Ottoman Archives] C. ML. Cevdet Maliye DH. EUM-KDL Dâhiliye Nezâreti Emniyet-i Umûmiye Kısm-ı Adli Kalemi Belgeleri DH. MKT. Dâhiliye Nezâreti Mektubî Kalemi HMG Hanımlara Mahsus Gazete [Newspaper for Ladies] HR. İM. Hâriciye Nezâreti İstanbul Murahhaslığı HR. SFR. (3) Hâriciye Nezâreti Londra Sefareti Evrakı HR. TO. Hâriciye Nezâreti Tercüme Odası Evrakı İ. DH. İrâde Dâhiliye İ. DUİT. İrâde Dosya Usulü İ. HUS. İrâde-i Husûsiye İ. TAL. İrâde Taltifat İST.U.NEK İstanbul Üniversitesi Nadir Eserler Kütüphanesi Arşivi [The Rare Books and Manuscript Library of Istanbul University] MAY Müzik Ansiklopedisi Yayınları [Music Encyclopaedia Publications] MF. ALY. Tedrîsât-ı Âliye Dairesi MF. MKT. Maarif Nezâreti Mektubî Kalemi MKT. Dâhiliye Nezâreti Mektubî Kalemi MVL. Meclis-i Vâlâ Evrakı S. M. I. Sa Majesté Impériale TBMM Türkiye Büyük Millet Meclisi [Turkish National Assembly] TRT Turkish Radio and Television Y. PRK.AZJ. Yıldız Perakende Evrakı Arzuhal Jurnal Y. PRK.BŞK Yıldız Perakende Evrakı Başkitabet Dairesi Mârûzâtı Y. PRK.ŞH. Yıldız Perakende Evrakı Şehremaneti Mârûzâtı Y. PRK.TŞF Yıldız Perakende Evrakı Evrakı Teşrîfât-ı Umûmiye Dairesi 14
Page 1 and 2: Nejla Melike Atalay WOMEN COMPOSERS
Page 4 and 5: Nejla Melike Atalay Women Composers
Page 6: To my one and only beloved family
Page 9 and 10: CHAPTER II Institutionalisation of
Page 11 and 12: Music - Interactivity on Multiple L
Page 13: Many thanks also to the Istanbul Or
Page 17 and 18: LIST OF FIGURES Figure 1: The funda
Page 19 and 20: Visual 43: Nazife Aral-Güran’s M
Page 21 and 22: Following graduation, I travelled t
Page 23 and 24: [Saz] Hanımefendi (1850?-1936) was
Page 25 and 26: feel the need to thematise Leyla [S
Page 27 and 28: about what the criteria for inclusi
Page 29 and 30: If reading of the texts were limite
Page 31 and 32: women musicians outside the palace
Page 33 and 34: 32
Page 35: and these terms became central conc

Leseprobe_Women Composers

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